Great film trilogies like The Lord of the Rings or that of Christopher Nolan Dark Knight The sagas have taken audiences into worlds filled with rich characters and complex emotional arcs. But some trilogies take us into the depths of a simple idea or feeling. Many great directors have found themselves making an “unofficial trilogy,” following a theme across three separate films without strict plot continuity.

From the spirituality of Italian Giallo films to the ever-cool stoicism of a lone cowboy, these unofficial trilogies have produced some of the most unforgettable cinematic explorations of all time. They’re not just a film programmer’s dream, but a look inside a filmmaker’s mind.

10 The Three Mothers trilogy gives us decades of elegant terror

Suspiria (1977), Inferno (1980), The Mother of Tears (2007)

In 1977, Dario Argento’s iconic horror film Giallo, Sighs introduced the audience to Helena Markos, the former head witch of a German dance academy. In 1980, Argento returned to the witches’ realm with Helltelling the story of a man investigating the disappearance of his sister, because she unwittingly shared a building with a powerful witch. It was not until 2007 that Argento completed his witch trilogy with Mother of Tears. In the lesser-known entry, the discovery of an ancient urn triggers the return of the Third Mother, causing chaos around Rome.

The idea of ​​the three mothers comes from a fusion of ancient occult texts and Argento’s colorful, salacious style. Each episode delights in extravagant murders and an increasingly complicated story of witchcraft. If the films, like most Giallos, lack logic, they are full of thrills and are undeniably the work of a singular artist.

9 The Teen Apocalypse trilogy shows the unpredictable verve of adolescence

Totally Stoned (1992), The Doom Generation (1995), Nowhere (1997)

Gregg Araki is a singular voice in the New Queer Cinema movement of the 1990s. His Teen Apocalypse trilogy, which ran from 1992 to 1997, chronicles the proud, queer, and angry lives of teenagers. Bringing audiences some of the wildest parties and most disturbing crime plots in history, these films are a testament to the power of queer filmmakers to present life as an artistic statement.

Each successive entry in the trilogy gets a little wilder, starting with modest slice-of-life vignettes Totally fucked up to the senseless murder plan of The Doom Generationto the chaotic acid journey that is NowhereAraki relies heavily on the wild digital stylization that makes his early work so contemporary and yet so entertaining.

8 The Three Colors trilogy explores French life with poetic clarity

Three Colors: Blue (1993), Three Colors: White (1994), Three Colors: Red (1994)

While some unofficial trilogies are born out of a filmmaker’s chance interest in a favorite theme, the Three Colors trilogy was announced as a whole from the beginning. Polish author Krzysztof Kieślowski secured funding from France to create the trilogy, and each of them loosely addresses an aspect of French culture, namely the French revolutionary ideals of “liberty, equality, fraternity.”

Starring respected actresses such as Juliette Binoche, Julie Delpy and Irène Jacob, the films deal with the loss of family, loss of identity and the development of unlikely bonds. A close attention to characters and the way life defies the expected boundaries of genre makes this trilogy an endlessly captivating film. As these are Kieślowski’s final films, they make for a deeply moving farewell.

7 The Cornetto Trilogy Brings Genre Mastery to Buddy Comedies

Shaun the Dead (2004), Hot Fuzz (2007), At World’s End (2013)

The Cornetto trilogy, named after a British ice cream brand, is one of the most watchable collections of films of all time. Each of them tackles a particular genre: from zombie horror to gun-toting action to alien invasion. Directed by Edgar Wright and written by Wright and Simon Pegg, this comedy trilogy is consistently hilarious and crafted with extreme care.

While many comedies prioritise jokes over plot, the Cornetto trilogy takes the time to create a thoughtful, emotional story that can be followed and revisited on repeat viewings. Each film also benefits from a star-studded British cast, ranging from fan favourite Peter Serafinowicz to Oscar winner Olivia Colman. And unlike some unofficial trilogies, the debate over which entry is the best is highly contentious, as each has its own strengths.

6 The original Dead trilogy proves that zombies can be powerful symbols

Night of the Living Dead (1968), Army of the Living Dead (1978), Day of the Living Dead (1985)

Filmmaker George A. Romero wrote the book on modern zombies, establishing their aesthetic and function in the 1968 classic Night of the Living DeadThe original entry connects zombies to the way American society demonizes and targets people from vulnerable populations, namely people of color.

In Dawn of the DeadRomero extended the metaphor to address America’s blind consumerism and how it can depersonalize and devalue human life. His 1985 follow-up, Day of the Deadchallenges its characters to communicate effectively and save humanity in the midst of an all-out zombie invasion. While the zombies themselves are entertaining enough, Romero always pushes the stories a little further, raising thoughtful and well-observed questions about the meaning of true human compassion.

5 The Apocalypse Trilogy Makes the End of the World Look Cool

The Thing (1982), The Prince of Darkness (1987), In the Mouth of Madness (1994)

John Carpenter may have been a pioneer of the slasher genre, but the theme he returned to most often throughout his career was the end of the world. Each film in Carpenter’s “Apocalypse Trilogy” takes a different approach to the concept: the viral takeover of the human race in The thingthe awakening of an “Anti-God” in Prince of Darknessand the awareness of your own non-existence in In the mouth of madness.

The trilogy is a showcase of the many incarnations of horror that Carpenter has mastered. The thing is a classic mix of science fiction and body horror, Prince of Darkness combines the occult with scientific facts, and In the mouth of madness finds common ground between the work of HP Lovecraft and that of Stephen King. The trilogy also features a secret narrative arc, beginning with the most literal of apocalypses and ending with an apocalypse centered on the human mind.

4 The Koker trilogy reveals astonishing power in everyday life

Where is the friend’s house? (1987), And life goes on (1992), Among the olive trees (1994)

Abbas Kiarostami has refused to consider his films part of a trilogy, but they are undeniably linked by their setting in the village of Koker, Iran. Three films dealing with humanity’s desire to connect make up the trilogy, the first being a simple story of a boy trying to return his classmate’s notebook, the second a father and son’s journey trying to find the boys after an earthquake, and the last an extension of a small scene from the previous film.

The beauty of the Koker trilogy lies in its presentation of a life that is both intensely personal and extremely complex. While the characters may struggle, they are but one piece in an ever-expanding and overlapping mosaic of a region. Each entry is individually engaging, but together the experience is immensely powerful.

3 The Man with No Name trilogy is the epitome of Wild West antiheroism.

For a Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966)

Clint Eastwood’s name is synonymous with the lone killer archetype, thanks in large part to his collaborations with Italian filmmaker Sergio Leone. The Man with No Name trilogy is the culmination of Leone’s collaborations with Eastwood, chronicling the eponymous antihero’s exploits as an opportunist, bounty hunter, and con man.

If Eastwood’s trademark growl is the centerpiece of the trilogy, it’s the countless unforgettable supporting roles that elevate him to legend. Featuring iconic character actors like Eli Wallach and Lee Van Cleef, the films are a masterclass in clean, mean genre filmmaking. They introduced a generation to the lawless world of cowboys and criminals.

2 The Love Trilogy is an unforgettable showcase of romance

Days of Wild Existence (1990), In the Mood for Love (2000), 2046 (2004)

Wong Kar-wai is a legend in Hong Kong cinema for his frenetic visual style and impossibly cool characters. But his romance trilogy is the best example of his ability to explore the depths of love, beyond extraordinary circumstances and across generations. Each film features Su Li-zhen, played by Maggie Cheung, as she navigates complex romances.

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Set in the 1960s, each film explores the limits of traditional domesticity and the illicit side of an otherwise buttoned-up society. Wild Life Days And 2046 both feature parallel stories, creating a visually stunning tapestry of desire and longing. In the mood for love has the simplest plot of the trilogy, but its emphasis on the sensory evolution of romantic feelings has earned it a regular place on lists of the greatest films of all time.

1 The Vengeance trilogy is the benchmark for dark thrillers

Sympathy for Mr. Vengeance (2002), Oldboy (2003), Lady Vengeance (2005)

Park Chan-wook is the master of chilling storytelling. His revenge trilogy, consisting of Sympathy for Mr. Vengeance, Old boyAnd Lady Vengeancefeatures some of the most twisted and twisted moments of any film. Its characters suffer wrongful imprisonment, the death of their children, and become unwitting perpetrators of incest.

Against all odds, Park manages to find moments of humor that make the trilogy not only disturbing but also moving. His characters, as extreme as they are, become understandable. Nothing sums up the power of the trilogy better than the English title of the first installment from 2002. Park’s superpower is to make the audience feel genuine sympathy for the most vengeful character.